Kim, Young Richard (2015), Epiphanius of Cyprus: Imagining an Orthodox World, Ann Arbor, Michigan: University of Michigan Press, pp.37–39, ISBN 978-0-472-11954-7 Head, Thomas F. (2001). Medieval Hagiography: An Anthology. Psychology Press. ISBN 978-0-415-93753-5. Holy See Press Office (June 10, 2016). "The liturgical memory of Mary Magdalene becomes a feast, like that of the other apostles, 10.06.2016". The Holy See. Archived from the original on June 13, 2016 . Retrieved June 10, 2016.

Wright, N. T. (March 1, 2003), The Resurrection of the Son of God, Christian Origins and the Question of God, vol.3, Eugene, Oregon: Fortress Press, ISBN 978-0800626792 Wellborn, Amy. De-coding Mary Magdalene: Truth, Legend, and Lies. Huntington, Indiana: Our Sunday Visitor, 2006. ISBN 1-59276-209-3. A straightforward accounting of what is well-known of Mary Magdalene. Ehrman, Bart D. (2004), Truth and Fiction in The Da Vinci Code: A Historian Reveals What We Really Know about Jesus, Mary Magdalene, and Constantine, Oxford, England: Oxford University Press, ISBN 978-0-19-518140-1Kent, Grenville J.R. (2011), "Mary Magdalene, Mary of Bethany and the sinful woman of Luke 7: The same person?", Journal of Asia Adventist Seminary, 13 (1): 13–28 Ehrman, Bart D. (2014), How Jesus Became God: The Exaltation of a Jewish Preacher from Galilee, New York City, New York: HarperOne, ISBN 978-0-06-177818-6 Pseudo-Rabanus Maurus' Life of Mary Magdalene and her sister Martha – Magdalen College Oxford". Magdalen College, University of Oxford. July 22, 2014 . Retrieved December 5, 2020. Ferguson, George (1976) [1954], "St. Mary Magdalene", Signs and Symbols in Christian Art, Oxford, England: Oxford University Press, pp.134–135 Dalton, Stephen (February 27, 2018), " Mary Magdalene: Film Review", The Hollywood Reporter, archived from the original on June 12, 2018 , retrieved June 8, 2018

St Peter Julian Eymard calls her "the patroness and model of a life spent in the adoration and service of Jesus in the sacrament of His Love." [216] [217] Green, Mary E. (2014), "Mary Magdalene, the Myrrh Bearer", Eyes to See: The Redemptive Purpose of Icons, New York City, New York, Harrisburg, Pennsylvania, and Denver Colorado: Morehouse Publishing, ISBN 978-0-8192-2939-7 Girls Aloud 'WILL perform Glastonbury in honour of late bandmate Sarah Harding and take to the stage for the festival's ICONIC legends slot' The Penitent Magdalene". The Walters Art Museum. Archived from the original on May 17, 2013 . Retrieved September 18, 2012.

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Ehrman states that the historical sources reveal absolutely nothing about Jesus's sexuality [317] and that there is no evidence whatsoever to support the idea that Jesus and Mary Magdalene were married or that they had any kind of sexual or romantic relationship. [317] None of the canonical gospels imply such a thing [318] and, even in the late Gnostic gospels, where Mary is shown as Jesus's closest disciple, [318] the relationship between them is not sexual. [318] The extremely late Greater Questions of Mary, which has not survived, allegedly portrayed Mary not as Jesus's wife or partner, but rather as an unwilling voyeur. [118] Ehrman says that the Essenes, a contemporary Jewish sect who shared many views with Jesus, and the apostle Paul, Jesus's later follower, both lived in unmarried celibacy, [296] so it is not unreasonable to conclude that Jesus did as well. [296] Kugelmann, Robert (1983), The Windows of Soul: Psychological Physiology of the Human Eye and Primary Glaucoma, London, England and Toronto, Canada: Associated University Presses, ISBN 978-0-8387-5035-3 Hinkle, Mary (2003) [1986], "Mary Magdalene", in Fahlbusch, Erwin; Lochman, Jan Milič; Mbiti, John; Pelikan, Jaroslav; Vischer, Lukas; Bromiley, Geoffrey W.; Barrett, David B. (eds.), The Encyclopedia of Christianity, J–O, vol.3, Grand Rapids, Michigan, Cambridge, England, Leiden, The Netherlands, and Boston, Massachusetts: William B. Eerdmans Publishing Company and Brill, pp.446–448, ISBN 978-0-8028-2415-8 Mary Magdalene at the foot of the cross during the Crucifixion appears in an eleventh-century English manuscript "as an expressional device rather than a historical motif", intended as "the expression of an emotional assimilation of the event, that leads the spectator to identify himself with the mourners". [242] Other isolated depictions occur, but, from the thirteenth century, additions to the Virgin Mary and John as the spectators at the Crucifixion become more common, with Mary Magdalene as the most frequently found, either kneeling at the foot of the cross clutching the shaft, sometimes kissing Christ's feet, or standing, usually at the left and behind Mary and John, with her arms stretched upwards towards Christ in a gesture of grief, as in a damaged painting by Cimabue in the upper church at Assisi of c. 1290. A kneeling Magdalene by Giotto in the Scrovegni Chapel ( c. 1305) was especially influential. [243] As Gothic painted crucifixions became crowded compositions, the Magdalene became a prominent figure, with a halo and identifiable by her long unbound blonde hair, and usually a bright red dress. As the swooning Virgin Mary became more common, generally occupying the attention of John, the unrestrained gestures of Magdalene increasingly represented the main display of the grief of the spectators. [244]